Michel Butor (French:[miʃɛlbytɔʁ]; 14 September 1926 – 24 August 2016) was a French poet, novelist, teacher, essayist, art critic and translator.[1][2]
Michel Marie François Butor was born in Mons-en-Barœul, a suburb of Lille, the third of seven children. His parents were Émile Butor (1891–1960), a railroad inspector and Anna (née Brajeux, 1896–1972). He studied philosophy at the Sorbonne, graduating in 1947.[3]
In 1950–51, he taught French in Minya, Egypt, followed by teaching assignments in Manchester (1951–53), Thessaloniki (1954–55) and Geneva (1956–57). In 1958, he married Marie-Josèphe (née Mas); they had four daughters.
His first novel, Passage de Milan, was published in 1954, followed by L'Emploi du temps (1956), which won the Prix Fénéon, and by La Modification in 1957, which won the Prix Renaudot. His final novel, Degrés, was published in 1960.
In 1960, he was a visiting professor at Bryn Mawr College and Middlebury College. His travels around the United States at this time resulted in his first experimental book, Mobile, published in 1962 to a controversial reception.[4]
In the following years, he wrote in a variety of forms, from essays to poetry to artist's books.[5] For artist's books he collaborated with artists like Gérard Serée.[6] Literature, painting and travel were subjects particularly dear to Butor. Part of the fascination of his writing is the way it combines the rigorous symmetries that led Roland Barthes to praise him as an epitome of structuralism (exemplified, for instance, by the architectural scheme of Passage de Milan or the calendrical structure of L'emploi du temps) with a lyrical sensibility more akin to Baudelaire than to Robbe-Grillet.
Journalists and critics have associated his novels with the nouveau roman, but Butor himself long resisted that association. The main point of similarity is a very general one, not much beyond that; like exponents of the nouveau roman, he can be described as an experimental writer.[7] His best-known novel, La Modification, for instance, is written entirely in the second person.[8] In his 1967 La critique et l'invention, he famously said that even the most literal quotation is already a kind of parody because of its "trans-contextualization."[9][10][11][12]
After meeting in 1977, Butor became a friend of Elinor S. Miller, a French professor at Rollins College at the time.[13] They worked collaboratively on translations, catalogues and lectures. In 2002, Miller published a book on Butor entitled Prisms and Rainbows: Michel Butor's Collaborations with Jacques Monory, Jiri Kolar, and Pierre Alechinsky.[14]
In an interview in the Museum of Modern Art, New York, conducted in 2006,[15] the poet John Ashbery described how he wanted to sit next to Michel Butor at a dinner in New York.
Michel Butor was a foundational member of The Raymond Roussel Society, established in 2016 alongside notable contemporaries including John Ashbery, Miquel Barceló, Joan Bofill-Amargós, Thor Halvorssen, and Hermes Salceda. The society, dedicated to celebrating and studying the works of the innovative and enigmatic writer Raymond Roussel, brought together a group of intellectuals and artists with a shared passion for Roussel's literary legacy. Through this collaboration, Butor's influence and expertise contributed significantly to the society's mission of exploring Roussel's unique literary techniques and promoting a deeper understanding of his innovative contributions to the world of literature.
Passage de Milan (Les Editions de Minuit, 1954). Chapters VII-X, trans. Guy Daniels in The Award Avant-Garde Reader (1965).[18] Chapters XI-XII in The Carleton Miscellany (1963).[19]
L'Emploi du temps (Les Editions de Minuit, 1956). Passing Time, trans. Jean Stewart (Simon & Schuster, 1960; Faber and Faber, 1961; Pariah Press, 2021).
La Modification (Les Editions de Minuit, 1957). Trans. Jean Stewart as Second Thoughts (Faber and Faber, 1958), A Change of Heart (Simon & Schuster, 1959) and Changing Track (Calder, 2017; revised).
Degrés (Gallimard, 1960). Degrees, trans. Richard Howard (Simon & Schuster, 1961; Methuen, 1962; Dalkey Archive, 2005).[20]
Mobile : étude pour une représentation des États-Unis (Gallimard, 1962). Mobile: Study for a Representation of the United States, trans. Richard Howard (Simon & Schuster, 1963; Dalkey Archive, 2004).
Réseau aérien : texte radiophonique (Gallimard, 1962). Commissioned by RTF and broadcast on 16 June 1962.
Description de San Marco (Gallimard, 1963). Description of San Marco, trans. Barbara Mason (York Press, 1983).
6 810 000 litres d'eau par seconde : étude stéréophonique (Gallimard, 1965). Niagara: A Stereophonic Novel, trans. Elinor S. Miller (Regnery, 1969).[21] Also adapted as an English-language broadcast for BBC Home Service on 1 December 1965, translated by Rayner Heppenstall.[22]
Intervalle : anecdote en expansion (Gallimard, 1973)
Histoire extraordinaire : essai sur un rêve de Baudelaire (1961). Histoire extraordinaire: Essay on a Dream of Baudelaire's, trans. Richard Howard (Cape, 1969).[23]
Improvisations sur Michel Butor : l'écriture en transformation (1993). Improvisations on Butor: Transformation of Writing, trans. Elinor S. Miller (University Press of Florida, 1996).
Portrait de l'artiste en jeune singe (Gallimard, 1967). Portrait of the Artist as a Young Ape: A Caprice, trans. Dominic Di Bernardi (Dalkey Archive, 1995).
La Banlieue de l’Aube à l’Aurore (Fata Morgana, 1968). The Suburbs from Dawn to Daybreak, trans. Jeffrey Gross (2013)[25][26]
Inventory: Essays by Michel Butor, edited by Richard Howard (Simon & Schuster, 1968; Cape, 1970). Twelve essays from Répertoire and Répertoire II, as well as five other pieces.[27]
Selected Essays, ed. Richard Skinner, trans. Mathilde Merouani (Vanguard Editions, 2022). Eight essays from Essais sur le roman.
^His DES thesis (diplôme d'études supérieures [fr], roughly equivalent to an MA thesis) under Gaston Bachelard was titled Les Mathématiques et l'idée de nécessité, "Mathematics and the Idea of Necessity" (see Mary Lydon, Perpetuum Mobile: A Study of the Novels and Aesthetics of Michel Butor, University of Alberta, 1980, p. 156 n. 31).
La citation la plus littérale est déjà dans une certaine mesure une parodie. Le simple prélèvement la transforme, le choix dans lequel je l'insère, sa découpure (deux critiques peuvent citer le même passage en fixant ses bords différemment), les allégements que j'opère à l'intérieur, lesquels peuvent substituer une autre grammaire à l'originelle et naturellement, la façon dont je l'aborde, dont elle est prise dans mon commentaire
A whole ideology of ownership and transmission is implied by the commercial promotion of books and a certain kind of discourse in newspapers, schools and universities, with its emphasis on greatness, uniqueness, and influence—often via quotation—as a one-way process. This ideology has received a battering for many years now at the hands of authors such as James Joyce, Ezra Pound, Jorge Luis Borges (Pierre Menard, Author of Don Quixote) and Butor himself.
Media related to Michel Butor at Wikimedia Commons
